A rare solo Thelonious Monk recording gets a sonic upgrade.
Thelonious Monk – Thelonious Himself – Riverside Records RLP 12-235 (1957)/Craft Recordings CR00852 Original Jazz Classics [5/23/2025] 180-gram vinyl, 44:32 ****1/2:
(Thelonious Monk – piano; John Coltrane – tenor saxophone; Wilbur Ware – double bass)
Thelonious Monk is widely regarded as one of the greatest jazz pianists. His trademark percussive style (even on ballads) was unique and he is the only player to be compared with Art Tatum. Monk came of age in the bebop era, but his technique (which included a left-hand stride pattern) helped to usher in modern jazz. As a recording artist, he released albums for Blue Note, Prestige, Riverside and Columbia. His compositions like “Blue Monk”, ‘’Round Midnight”, “Epistrophy”, “Crepuscule With Nellie” and “Straight No Chaser” are considered jazz standards. Most jazz pianists have covered Monk. There have been many tribute albums by luminaries and eclectic musicians like Kronos Quartet and Andy Summers.
Craft Recordings (as part of the Original Jazz Classics Series) has released a re-mastered 180-gram vinyl of the 1957 album, Thelonious Himself. This was recorded between Brilliant Corners and Monk’s Music. Side 1 opens with the popular Broadway tune, “April In Paris”. Two years earlier Count Basie reinvented this as a jazz exploration. Monk initiates the melody in his unique halting style with punctuated timing and moments of hushed solitude. His instrumentation is sparse, but he adds fluidity with his left hand and soulful accents with the right. There is a deliberate pace that focuses on the melodic nuances. This distilled simplicity (but with arpeggios) continues on another re-invented pop number, “Ghost Of A Chance”. His interpretation unfolds steadily as Monk adds a contemporary touch (not unlike some early 20th century classical songs). His use of harmony is unusual, but very effective. The core melodic thread is never lost. The first original composition is a 12-bar blues number, “Functional”. Monk manages to combine the funkiness of blues with a meditative resonance. He brings the blues swagger but with small touches like dissonance and spacing. His left hand is slightly propulsive and the right hand notation is sinewy and moody. His leisurely pace is a perfect vehicle for “I’m Getting Sentimental Over You”. The solos are graceful and there are some nimble chord changes. The arrangement is classic Monk.
“I Should Care” (Side 2) is yet another measured performance. The subtle hesitation combined with minimal flourishes (right hand especially) brings a dusky resonance to the track.. A certain highlight is the ultimate Monk standard, “‘Round Midnight”. The pianist first recorded this song as early as 1947. It is interesting to experience the personal, deeply introspective methodology that defines this blues journey. With the exception of some trilling, Monk eschews traditional frenetic improvisation in favor of profound mood creation. Irving Berlin’s “All Alone” exudes a lilting emotional vibe that seems to transcend the rigid popular song format. He injects jazzy trills and muscular bass notes, but doesn’t lose the essence of the composition. The finale, “Monk’s Delight” is one of his most recorded cuts. He is joined by none other than John Coltrane (and bassist Wilbur Ware) which adds vibrant texture. The two play in unison and counterpoint and the result is captivating.
Thelonious Himself is a complex solo piano recording. It is about searching for a different perception and identity as a musician. The 180-gram pressing is excellent without surface noise, hisses or pops.
Highly recommended!
—Robbie Gerson
Thelonious Himself
TrackList:
Side 1:
April In Paris;
Ghost Of A Chance;
Functional;
I’m Getting Sentimental Over You
Side 2:
I Should Care;
‘Round Midnight;
All Alone;
Monk’s Mood.
